Bright reds bleeding / artifacting badly on export – any tips?

[Bret Williams]

This is stuff he should know and understand, especially with paying clients. I continually come across “pros” that don’t even know what a vectorscope is for.

[Tom Matthies]

It probably doesn’t need to be said, but if their logo started out as a still graphic, make sure that it is RGB and not CMYK.
Just a thought.
Tom

[Daniel Haythorn]

Many thanks… changing to ProRes appears to have made a huge difference.

[Daniel Haythorn]

I’d desaturated it already… someone suggested applying Broadcast Safe filters, which I imagine will have a similar effect? Will definitely try desaturating if it continues to look dodgy… the logo is looking less and less colourful though! Guess it’s better than fluffy artifacting edges though 🙂

[Daniel Haythorn]

You mean just because I use Final Cut Pro it doesn’t actuall make me a Pro?! I want my money back!
Seriously though, you should blame Apple for making such an accessible piece of software… Truly, the barbarians are at the gate 😉

[David Roth weiss]

[Dan Haythorn] “changing to ProRes appears to have made a huge difference.”

Of course!

And, I highly recommend that sometime you tinker with the Broadcast Safe filter before manually tinkering with the color corrector. It is actually quite a powerful little tool that is capable of clamping down on excess chroma information without changing perceived colors or luminance. Perfect when dealing with company logos designed with non-legal color values.

David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los Angeles

POST-PRODUCTION WITHOUT THE USUAL INSANITY ™

A forum host of Creative COW’s Apple Final Cut Pro, Business & Marketing, and Indie Film & Documentary forums.

[Joe Murray]

Filters schmilters…if you want really clean graphics with highly saturated red in them, you need to do as suggested, convert the sequence to Prores, and if you have After Effects, try rendering the logo over footage within After Effects then reimport to FCP and compare to Prores. FCP’s rendering of reds has never been perfect but I’ve gotten around it sometimes by rendering a clip in an external program like AE or combustion (probably even Motion would do it but I’m not a Motion guy so I don’t know) so that all FCP has to do is play the footage, not render anything.

HDV is OK as a shooting format but it has a lot of issues as a post format and should be converted to a 4:2:2 codec for best quality, and filters in 4:2:0 are no subsitute.

Joe Murray
Edit at Joe’s
Charlotte, NC